The woodland spa garden is the signature element of Sakura Spa, so the landscape design was a fundamental part of the concept. We caught up with Paul Robinson, Senior Designer at Alistair W Baldwin Studio, about creating a garden that immerses guests in nature and calm.

What first drew you into garden and landscape design? 

I think what first drew me into garden and landscape design was the relationship between people, place, and nature. I’ve always been fascinated by how outdoor spaces make people feel, how landscape can shape an experience in ways that are subtle but deeply powerful. It combines creativity with something living and changing, which I find endlessly compelling. There’s also the relationship between buildings and their settings that I find particularly rewarding, how a well-considered landscape can amplify the character of architecture and give a place its identity. 

How would you describe your design style? 

I’d describe it as naturalistic and immersive, but always underpinned by clear spatial thinking. I’m drawn to spaces that feel atmospheric and generous, soft, layered, and connected to their surroundings rather than overly formal or imposed. There’s always a considered framework underneath, but the planting and material choices are what bring it to life and give the space its particular feeling. Ultimately, I want the design to feel beautiful, calm, and practical in equal measure. 

What inspires you, places, people, art, nature? 

A great deal of my inspiration comes from the wider landscape, seasonal change, the way plants behave in different conditions, and the textures and movement you find in nature. I’m also inspired by places that are memorable and atmospheric, where the experience of being there matters as much as how they look. At AWB (Alistair W Baldwin Studio), the team is fortunate to work across some extraordinary settings, from the North York Moors to the Scottish Highlands, and those landscapes inevitably feed into the work. The quality of light, the colour of local stone, the plants that colonise a particular place, all of that informs the direction of a design. 

How did you find your way into designing for wellness spaces like spas? 

It felt like a very natural fit. There’s such a strong and well-evidenced connection between horticulture, nature, and wellbeing, and at AWB there has always been a belief that gardens should enrich the soul and heighten our sense of connection to nature. AWB has been fortunate to work on a number of spa and hospitality projects over the years, and I think the practice really values the role that landscape can play in making those spaces feel restorative and special, not simply a backdrop, but an integral part of the experience. 

Can you tell us about some of your previous projects? Do you have a favourite? 

AWB has worked on a wide range of projects, but spa and hospitality work is always especially rewarding because the landscape becomes so central to the overall experience. Projects like the gardens at Grantley Hall and the recent work at Raby Castle have been particularly fulfilling, both involved creating landscapes that were deeply rooted in their setting, and both demanded a sensitive response to significant heritage. I don’t think I have one single favourite, but I’m always drawn to the projects where the outdoor space genuinely shapes how people feel and move through a place. 

When you first heard about this project, what excited you most? 

What excited me most was the opportunity to create a landscape that would be a real part of the spa experience rather than simply a setting for it. The woodland grounds at Gisborough Hall have a beautiful character of their own, and there was a genuine chance to create something that felt rooted in that particular place, so that the garden reflected the surrounding landscape and gave guests that immediate sense of connection and retreat. 

What makes designing for a spa environment different from other types of landscapes? 

With a spa environment, you’re thinking much more carefully about how people feel in the space, not just how it looks. It’s about supporting relaxation, a sense of calm, and that feeling of stepping into somewhere apart from everyday life. Circulation and accessibility are particularly important too, making sure the landscape is inclusive and welcoming for all guests, and that the journey through the space feels intuitive and unhurried. Every sensory detail matters more in this context. 

How did you want people to feel when they step into the outdoor spaces here? 

I want people to feel immersed and at ease, to have that sense of stepping into somewhere separate from the everyday, where the atmosphere encourages you to slow down. The aim was for the garden to feel soft, restorative, and welcoming, supporting the transition into the spa experience. If the landscape can give guests a tangible sense of calm before they’ve even entered the building, then it’s doing its job. 

Were there any unique challenges or opportunities that shaped your design decisions? 

Yes, definitely. One of the main challenges was the topography of the site and ensuring the landscape was fully accessible and inclusive for all guests, despite the natural slopes. That shaped a great deal of the thinking around how people would circulate through the space. One of the significant opportunities was the woodland setting itself. The planting approach was very much about drawing on the character of the surrounding landscape, so that the garden felt like a natural extension of the grounds rather than something imposed upon them. 

Where did you begin, what was the first idea or spark that set the direction? 

The starting point was understanding how the spa would function and how people would move through it. Access, circulation, and the practical use of the space were all considered very early on. Alongside that, there was the idea that the planting and materials should draw on the surrounding landscape and help give the garden its particular atmosphere. At AWB, the process always begins with the place itself, spending time on site, understanding its inherent character, its microclimate, its relationship to the buildings, and that site assessment gives the team the clues and prompts for the design direction. 

How do you balance aesthetics with practical considerations like maintenance, climate, or guest flow? 

Those practical considerations are there from the very outset. Guest flow, maintenance, climate, and accessibility all need to be thought about early in the design process, they’re not afterthoughts. For me, good design comes from making sure the space works properly first, and then shaping something that also feels beautiful and atmospheric. AWB also designs planting schemes to be realistic in terms of what’s involved in looking after them, which is important for any hospitality project where the garden needs to perform consistently year-round. 

What role do sensory elements (sound, scent, texture) play in your design for this spa? 

They’re really important. In a spa setting especially, those sensory qualities are what make the space feel truly immersive. The texture and movement of the planting, the scent of foliage as you brush past, the sound of water or grasses in the wind, all of that contributes to how the garden is experienced. It also extends to the materials underfoot and the quality of craftsmanship in the hard landscape. It’s about creating something people feel as much as see. 

How do you collaborate with the wider project team, the interior designer, spa consultant, architects, etc.? 

It’s a very collaborative process. On a spa project there’s a great deal of overlap between the different disciplines, so it’s important that the landscape, architecture, interiors, and spa planning all work in harmony. Regular team meetings and open collaboration are a fundamental part of that. On this project it’s been a particularly enjoyable process working alongside Nic Tamlin, Nicki Kurran, and the wider consultant team, everyone shares a clear vision for what the spa experience should feel like, and that alignment has been invaluable. 

Is there a particular feature or area of the garden that you’re especially proud of? 

I’m especially proud of the planting and the way it helps tie the whole spa experience together. More than any single feature, it’s the planting as a whole that gives the garden its identity and creates that atmospheric, immersive quality throughout the space. When the planting, the materials, and the setting all come together to create a sense of calm and belonging, that’s what I find most satisfying. 

Has there been any plant choices or materials that feel especially meaningful or innovative? 

Yes, definitely. The planting palette was carefully considered to reflect the surrounding landscape and that sense of being on the edge of the North York Moors. There’s a softness running through the scheme, with grasses and gentle purple tones that echo the character of the moorland beyond. Plants like Selinum and Cenolophium were important choices because they have that airy, ethereal quality that mirrors wild plants like cow parsley, they help create something that feels rooted in the local landscape but entirely appropriate for a spa setting. Sporobolus heterolepis was also significant within the mix for its exceptional softness and movement. 

What do you hope guests will notice when they experience the space? 

I hope they notice the overall feeling of the space more than any one individual element. Ideally, they feel immersed in it and carried by that sense of calm and softness that the garden is designed to create. If guests come away with a strong sense of atmosphere, if the garden has quietly shaped their experience without them quite realising it, then I think it’s doing its job. 

What’s your favourite plant, and why? 

My favourite plant is Selinum wallichianum. I love it because it has that light, airy quality that brings softness and movement into a planting scheme. It feels natural and elegant at the same time, and it has a delicacy to it while still having real presence in a border. It’s one of those plants that seems to capture the light beautifully, and it works in so many different settings, which is probably why I keep finding reasons to use it. 

 

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